Posts Tagged ‘ Yogendra Tiku ’

Fan

fan-poster

Fan
Release date: April 15, 2016
Directed by: Maneesh Sharma
Cast: Shah Rukh Khan, Deepika Amin, Yogendra Tiku, Waluscha De Sousa, Shriya Pilgaonkar, Sayani Gupta

First up, there will be people on the internet telling you that this film is inspired by The Fan (1996), and someone might even go as far as claiming that it’s ripped off from Alfred Hitchcock’s Strangers on a Train (1951), just to get a sensationalist reaction. The 1996 film itself was very loosely based on a 1981 horror film titled, again, The Fan. 

All of the Fan films have a celebrity obsessed fan and the said celebrity at the heart of the plot. Each of the respective storylines depict the fan’s obsession taking a life of its own, and thereby lending a tinge of an antagonistic shade to him when he tries to put himself in the celebrity’s life. The similarities end here. Habib Faisal and Maneesh Sharma turn the basic concept on its head by making use of the Celebrity Junior/Senior lore and giving it a relatable flavor. The “junior” is a fan who impersonates the celebrity that he’s crazy about, going as far as earning a livelihood out of the whole shtick. There are competitions that are aimed at honoring the best junior, or as some would say, the best duplicate (of the star).

Gaurav Chandna is the twinkle-eyed youngster, who has a million cutout pictures of his “God” Aryan Khanna, a Bollywood superstar seemingly past his prime. Gaurav isn’t just an admirer of his acting work, he’s a follower of everything that he does, be it an interview from Khanna’s early days, or his latest fight with a contemporary actor. He emulates his mannerisms, and even his charm off screen. Just like his God, Gaurav also does this only on the stage in talent contests. In his routine life, he’s just another ordinary Delhi boy. He can’t get good grades in college, he can’t woo a girl he has feelings for, quite unlike Aryan’s on-screen persona which he seems to imbibe and worship.

After winning the local talent hunt contest for the bazillionth time, he decides to gift his trophy to Khanna on his birthday in Mumbai. Gaurav is a likeable character with his chirpy demeanor and a permanent joie de vivre; the obsessive layers underneath start to unravel when he does a mini life-threatening stunt while insisting to travel ticketless on the train to Mumbai, just because that is how Khanna began his career. Some of what he does is sweet, even endearing. This enjoyable universe becomes darker when Gaurav doesn’t know where to draw a line between being a good one-sided lover and a lover who feels wronged when his attraction isn’t reciprocated.

Fan provides a constant parallel commentary on the over-interfering and overbearing interest in a celebrity’s life, and the plastic psyche of a star who would go to any lengths to be liked by everyone in the world. One of the film’s most masterful moments is when Gaurav mocks Aryan for repeatedly attributing all his success to his fans, and then later in a press conference Aryan pulls back on his urge to repeat the same favorite cliche. Amongst many firsts that the film manages to achieve, it also becomes one of the only films to be shot at Madame Tussauds in London. The whole sequence in the wax museum is a little exaggerated to be easily believed in, but it has a hilarious millisecond frame of a Salman Khan wax model standing spectator to a situation which could have easily done with some vigilance by an action hero of any kind.

While that’s just a first in aesthetic vanity or marketing, the most commendable first is Shah Rukh Khan’s casting as the 20-something super-fan and the 50-something super-star. Of course, he’s wearing prosthetic makeup and his face is 3D scanned, but the man underneath is the same Khan who has to juggle between an almost autobiographical character and a boy who keeps jumping as if he’s on an invisible trampoline throughout the film. Gaurav is creepy, Aryan is cocky. Gaurav is naive, Aryan is mature. Gaurav is a maniac, Aryan is an unflinching douchebag. There’s so much of Aryan Khanna that rings close to Khan’s career trajectory and the controversies that he’s found himself in.

A violent bust up with a coworker? Check. Being unabashed about dancing at high-budget weddings? Check. Being detained in a foreign country? Check.

Again, the always heartwarming story of him finding stupendous success in a city where he arrived as a vagrant is also inimitable. The stardom of Shah Rukh Khan makes this film greater than it is. The screenplay is too far-fetched at times, and it even tugs at your patience with the number of chase sequences between different sets of characters, and an always predictable outcome. The last act is also not without its flaws, where the fan is always just too smart for his own good. Much of this is compensated by the deft casting of Deepika Amin and Yogendra Tiku as Gaurav’s affable parents, and Waluscha De Sousa as the glamorous star-wife and Shriya Pilgaonkar as the friendly girl next door.

Fan is an out-and-out Shah Rukh Khan masterclass though, with Maneesh Sharma’s beguiling direction and Manu Anand’s occasionally experimentative cinematography.

My rating: ***1/2 (3.5 out of 5)

Neerja

Neerja-poster

Neerja
Release date: February 19, 2016
Directed by: Ram Madhvani
Cast: Sonam Kapoor, Shabana Azmi, Yogendra Tiku, Jim Sarbh, Abrar Zahoor, Shekhar Ravjiani, Kavi Shastri

In a year where the word ‘nationalism’ has been quite the center of attention from various points of the political and societal spectrums, after Airlift, Neerja is another film that borrows from a brave rescue mission of a different kind. What’s greatly endearing about the two films is the fact that neither the former, nor the latter heavily rely on invoking jingoistic sentiments, which the currently ruling party is stacking the deck with to shush any and every dissenter’s voice.

Political commentary over.

The film starts rolling with a small recorded message from Neerja’s mother, Rama Bhanot, who passed away in December 2015. She’s apparently sat in an airplane seat, with a warm smile on her wrinkled face, blessing the viewers and the makers with a simple message. The film ends with her cinematic counterpart Shabana Azmi giving a tear-jerker of an eulogy of sorts.

Neerja Bhanot (Sonam Kapoor) is an ardent Rajesh Khanna fan who infuses life into her colony’s boring gala night. Kids dance choreographically to Kaka‘s “Bye bye miss, goodnight”, albeit slightly remixed. Shots from the party are juxataposed with those of the ‘bad guys’ gearing up for their mission. Balloons are burst, one by one, at the party, while the Palestinian militants pack their bullets and grenades carefully. Neerja has to steward a late night flight to Frankfurt, forcing her to cut short on her sleep to which her mother (Shabana Azmi) is greatly pained. She wants her to quit the air-hostess job, because Neerja is already doing well in her modelling assignments.

Neerja asserts that she likes her job on the Pan Am airline and she enjoys doing it. Her journey to the flight is assisted by Jaideep (Shekhar Ravjiani) who has a romantic interest in her. All of this detailing is given away within the first few minutes of the film, goading her into the fateful Pan Am Flight 73 on the early morning of September 5, 1986. She’s charming, caring of the passengers’ needs and considerate of her co-employees and subordinates. She brings the flight’s Pakistani radio engineer video cassettes from India and she shows a greater work ethic even in the face of a hijack by the aforementioned Palestinian militants.

Her troubled marriage is slowly divulged, in moments where she sees herself helpless on the hijacked flight. She’s reminded of how her father always asked her to stay courageous, come what may and never tolerate any wrong, even when she’s married off to an abusive husband in a different country. The news of Neerja’s flight’s hijack is handed in the same courageous fashion by her mother, when her sons start losing their composure over the lack of any action by the Pakistani armed forces as the hijacked flight had been stuck for over eight hours at the Karachi airport.

Shabana Azmi, as the progressive Punjabi mother of the ’80s pulls at your stony heart’s strings so much, it’s not even fair. At the crux of Neerja’s valor and commitment to her job of being the flight head-purser are the values instilled in her by her family. Sonam Kapoor is straddled with a character of a certain vanity and a class that are closer to home for her. She mellows down her singsong delivery and retains her glamorous, chirpy persona and meshes it with her part.

The sense of tension and fear is palpable throughout the course of the flight’s captivity. Yes, the attackers are written in stereotypes, but Jim Sarbh with one of his angry breakdowns, in a particular scene, renders his Khaleel as his own and makes you gasp, wondering what he would do next in his fit of rage. Some of the passengers on the flight are established distinctively, thus making the viewer empathize with the potential tragedy that can fall upon them. Pieces from Neerja’s life are carefully strewn over the duration of the film, and only one amongst them, and a song, feels misplaced.

Neerja isn’t just a tale of a selfless employee putting her life in jeopardy to save the lives of others. It’s a well-told, emotionally resonating story of a family that was invested in creating a fair world for their children and helping them to make the right decision throughout their lives. Azmi’s speech at the end of the film may seem slightly long, but it’s one of the most sniffle-inducing ten minute film sequence of your life. A life snatched away too soon, yet commemorated forever. Just like her favorite line from Anand, “बाबूमोशाय, ज़िन्दगी बड़ी होनी चाहिए, लम्बी नहीं|” [Translation: Life is measured by what we do, and not how long we live.]

My rating: **** (4 out of 5)

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